This Mexican filmmaker’s first film in 1957 was called The Severed Heads, a love story about a shop where heads can be switched to different bodies.
1.This Mexican filmmaker’s first film in 1957 was called The Severed Heads, a love story about a shop where heads can be switched to different bodies. This introduced the world to his unique blend of nightmare surrealism that define his most significant feature films. He went on to make El Topo in 1970. This film was even more strange and dreamlike than the first. A western of sorts saturated with graphic sex and violence, it tells the story of a man who abandons his naked son in the desert to seek out and kill four master gunfighters. He is left for dead, but awakens in a cave years later where he is worshipped as a god.
2.This Brazilian approach to filmmaking looked for new ways to convey the realities of underdevelopment, poverty, and industrial exploitation of native resources. It also sought ways to invigorate Brazilian cinema with the folklore and traditions of the region, rather than relying on the kinds of generic cinema seen in many Hollywood imports.
3.This manifesto, called_____________________ poses that there are three types of films; those made by big studios for promotional entertainment (first cinema), those made by independent artists with art house ambitions (second cinema), and political films made by the people and for the people that reject both previous styles. This alternative direction should be embraced by the new nations emerging from de-colonization, as they have a chance to liberate themselves artistically from their more economically powerful colonizers by filming movies with themes and issues unique to the native people. The manifesto behind this theory became highly influential in the cinema of Africa, South America, and the Middle East
4._____________ is a filmmaker from Argentina, and his most significant contribution to film is a 3 part documentary called ‘The Hour of Furnaces’ which he co-created with fellow filmmaker Octavio Getino. These documentaries sought to undermine and contradict the long standing discourse around social issues dominated by the voices of the wealthy, whose power was often the result of colonial influence. His films worked towards a post-colonial vision of Argentina and Latin America as a whole.
5.According to episode 11 of The Story of Film, _________________, a Hong Kong director, played a pivotal role in transforming the films of the Shaw Brothers Studios from a 50’s style glossy femininity to a masculine, widescreen, graceful world of martial arts. His films greatly established the role of Kung Fu mythology in Hong Kong by being more that action films with their use of beauty, mysticism, and spiritual mindedness.
6.According to episode 11 of the Story of Film, the film ______________ is among the most iconic movies to emerge from the 70’s, with a global recognition on par with American films like Star Wars and The Exorcist. Cousins goes on to refer to this film as “the innovative colossus of 70’s cinema. Widescreen titles like an epic. Landscape like a western. Music like an adventure film. [this film] was all these things.
7.In episode 11 of The Story of Film, Mark Cousins looks at scenes from the film ___________________ by Moustapha Akkad, which has been seen by as many people as any film in history. Because the film deals with the Prophet Mohammad, it relies on an unusual editing choice in which the camera never cuts to images of the Prophet, nor do we ever hear his voice, instead just silence when he would be speaking. This was done because Islam forbids visual depictions of Mohammad. Many scenes in this film were shot twice, one version using Anthony Quinn and speaking English for American and European audiences, and another version with Abdullah Gaith and spoken in Arabic for Middle Eastern audiences.
8.According to episode 11 of The Story of Film, three 70’s American films, Jaws, Star Wars and __________ massively reoriented audience expectations away from the introspective, thought provoking films of the New American Wave and towards films in which producers made films “about things that people fantasized about seeing…. Like very early cinema, the promise of thrill, of sensation lured people back to the cinema.”
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